Michel Majerus 米榭・馬耶魯斯 | o.T. (collaboration Nr. 8) O.T. （合作編號8）
1967 - 2002
o.T. (collaboration Nr. 8)
acrylic and silkscreen on canvas
signed Majerus, titled o.T. (collaboration Nr. 8) and dated 99 on the reverse
executed in 1999
200 by 179.7 cm; 78 ¼ by 70 ¼ in.
1967 - 2002
Majerus, o.T. (collaboration Nr.8), 99（畫背）
200 x 179.7 cm; 78 ¼ x 70 ¼ in.
This work is in excellent overall condition as viewed. The work has not been examined under ultraviolet light.
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Matthew Marks Gallery, New York
Private Collection (acquired from the above by the present owner in 2014, and sold: Sotheby's New York, 17 May 2018, Lot 497)
Private Asian Collection (acquired directly from the above sale)
Paul Dell, ed., Michel Majerus: Progressive Aesthetics, Luxembourg 2013, fig. 112, p. 121, illustrated in color
New York, Matthew Marks Gallery, Michel Majerus, February - April 2014, p. 34 and 85, illustrated in color
紐約，Matthew Marks 畫廊，〈米榭・馬耶魯斯〉，二〇一四年二月至四月，圖錄34及84頁，附彩圖
“Majerus’s production of images and visual environments, in fact, represents one of the very few recent approaches to painting that cannot be understood in terms of a return to anything from the past. His art had a specific kind of newness – not the lofty, if contested, 'originality of the avant-garde', but the prepackaged newness of the latest cell-phone graphic or just-released sneaker from Nike. Majerus's art was about this newness.”—Daniel Birnbaum, “Search Engine. The Art of Michel Majerus”, Artforum, 2006, online
Bursting with a myriad of symbols and referencing the unmistakable visual vocabulary of Jean-Michel Basquiat, o.T. (collaboration Nr. 8) is a fantastic example of Michel Majerus’ inventive artistic language that draws upon art historical precedents and elements from pop culture. Aged only 35 at the time of his untimely death in 2002, the Luxembourgish artist engaged in a highly diverse range of media during his short decade-long career—including painting, large-scale installation and animation—while finding inspiration from a multitude of sources, such as characters from Pixar animations, brand logos, sneaker ads, phrases from youth subcultures, techno, cartoons, video games and quotations from paintings by De Kooning and Basquiat. The present work employs Basquiat’s signature anatomical figure of a King as the focal point of the composition, set against what appears to be the blue and white logo of General Electric. Around the central character, Majerus includes crossed-out words in the style of Basquiat’s script, and a painterly strip of a startling cyan blue.
Based in Berlin, Majerus belonged to an impetus in contemporary art of the late twentieth-century in which the practice of painting was scrutinised to the brink of dissolution. A little after Martin Kippenberger and Albert Oehlen first championed ‘ugly painting’ as means to revalidate its practice, and shortly following Christopher Wool’s stark and punk-fuelled dirty-Pop brand of pseudo-mechanical painting, Majerus took on this project and went one step further. In works such as the present that conflate deliberately reckless brushwork, painted slogans, and digital silkscreens extracted from ads, cartoons, or high art, Majerus blew the floodgates of painting wide-open, and in doing so created artworks that operate as fields for fluid data and short-attention span visual cues – characteristics of present-day twenty-first century culture.
Undoubtedly ahead of his time, Majerus’s imaginative and immensely prescient works transformed the discipline of painting into a diverse and complex image/idea system, the powerful impact of which is only now just beginning to be fully appreciated. Testament to the significance of Majerus as a canonical figure of the 1990s, several major institutions have organised posthumous exhibitions for the artist, including Hamburger Bahnhof, Berlin; Tate Liverpool, UK; Kunsthaus Graz, Austria; and the Kunstmuseum Stuttgart, Germany.